---

The purpose of present article is to introduce the basic constituents of the story blueprint, and principles governing them. By the story blueprint I intend the reader's inference about some relatively short sequences of narrative events. The local rules operative on these sequences help the reader discriminate story characters' goal-directed actions from unintentional events and states, before mentally modeling an overall structure of interlinked larger sequences within a storyworld. Action, event, and state are among the concepts inextricably connected with the notion of story and reiterated through the history of narrative analysis. The concepts at issue, and with them the nature and scope of narrative itself, have been further illuminated by recent insights offered mainly by linguists, philosophers, and cognitive scientists. Most of these developments occurred long before the establishment of cognitive sciences, and even before the heyday of structuralist narratology. But despite their availability at the time, they have been brought within the compass of classical theories of narrative since only a couple of decades ago. Narrative theorists argue that to tell and comprehend stories is to operate within a system of rules in which events are preferentially viewed as structural sequences of intentionally-oriented actions. In recent works on the semantics of verbs, however, language theorists have made finer-grained classifications of expressible events, with actions as a mere subcategory. This article is thus meant to explore some of the implications of verb semantics for narrative theory, especially as concerns typology of narratives under various genres.

---

This article attempts to show the similarities and differences between epideictic genre in ancient western rhetoric, and the principles of praising and blaming in Islamic rhetorical textbooks. Epideictic genre is one of the three main rhetorical genres – along with deliberative and forensic genres- and its basic features may be traced in two kinds of textbooks: 1- Official rhetorical textbooks such as Aristotle’s, Cicero’s, Quintilian’s and others; 2- Sophistical textbooks such as Progymnsmata and Menander’s “Division of Epideictic Speeches”, and the treatise falsely attributed to Dionysius of Halicarnassus, namely “On Epideictic Speeches”. The aim of this article is to show that both of these approaches have some counterparts in the Muslim world. The rhetorical Islamic textbooks are somehow the counterpart of official approach, and anthologies such as “Al-yavighit fi ba’z al-mavaghit”, “Tahsin al-ghabih va taghbih- al hasan” and many others reflect the sophistical approach to praising and blaming. Finally, the article concludes that although western and Islamic cultures differ fundamentally from each other, however, when it comes to praising/blaming, they are mostly on the same track.    

---

An important fact in the field of genre changes is that domination of one discourse and cultural current in a specific epoch has an undeniable effect on the appearance of a new genre. If some of literary criticizers have proposed the theory of literary genres basen on Darwin's theory and the natures of beings, we can interpret the theory of changes of literary genres based on Paul Tillich's views considering human's anxieties in the three domains of existence anxiety (death), moral and ethical anxiety (sin) and spiritual anxiety (absurdity and meaninglessness).In this paper, I will describe Paul Tillich's view in this domain and considering the domination of a thought discourse and the appearance of a specific mental type (anxiety) in a specific epoch,will try to analyze the appearance of a literary genre homogenous with that.

---

Literary Genre

---

As an integral componet of discourse competence and professional expertise, generic competence is intervowen with the concept of multi-litracies, which in turn highlights the role of technology and multimodality. Conefernce PowerPoint presentations are among the research-process genres, which rely substantially on the textual and visual generic competences of discourse community members. In spite of their significant role for the membership in a community of practice, they are underexplored even in the "English for Specific/ Academic Purposes" tradition of genre analysis, where static versus dynamic nature of genres has been a controversial issue. The present genereic study utilized a typology of visuals along with a framework for description and explanation of their characteristics and features to analyze more than 400 conference slides by two groups of non-native applied linguists (a representative of soft scientists) in light of the definition of genre, its functions, and the influence of Microsoft software on its features. Apart from highlighting the importance of visuals and the dominance of scriptuals in soft sciences, the reported similarities and differences between the two groups and the obtained patterns revealed that PowerPoint presentation can be considered a genre, which would manifest a variety of identity expressions. Moreover, in the absence of disoursal and metadiscoursal elements, many slide characteristics and features can fulfill their fuctions. Sheding some light on the undeniable role of the software and its implications for methods of reasoning and argumentation, genre integrity, and definition of metadiscourse and genre along with some applied suggestions are among the main aims of the study.  

---

Muhtasham-e Kāshani (935-996/ 1528-1588) is called Khāqāni-e sāni because of his well-made and strong odes which resemble Anvari’s and Khāqāni’s, and also Hassān-e al-ajam because of his enthusiastic elegy on Imam Hussein. But the innovative dimension of his style, which is rarely recognized by the stylisticians and literary historians, is mostly manifested in his rasāyel (Jalālieh and Naql-e oshāq) not in his sonnets and odes. These two essays or rasāyel, which are unique because of their lyrical-narrative structure and their explanation of realistic and vāsookhti experiments, are not even referred to in the studies of Voqu' and Vāsookht schools. Muhtasham has combined a prose narration of realistic love with extemporaneous sonnets (and sometimes with other poetic forms) and has created a different literary genre. The present article tries to introduce this unknown genre and to explain the structural and stylistic features of this kind of lyrical narration in Muhtasham’s rasāyel.

---

This article studies the role of “Rhetorical Situation” in the formation of genres. Accordingly, the article discusses the concept of genre in rhetoric which includes a variety of fields ranging from the ancient oratory to the communication studies in 20th century. Unlike literary approaches which define genre mostly on the basis of textual features (form and content), rhetorical approach defines genre according to the extra-textual features such as situation and audience. Before 20th century, the concept of “situation” was very much static and limited to some specific and clear-cut situations and the speaker and audience only had to passively respond to these situations. In 20th century, the theories of Bakhtin and Carolin Miller turned this concept into a dynamic one. According to these theorists, a genre comes to existence in a communicative process and with the participation of speaker and audience. This article first addresses the theories of genre in ancient rhetoric, and then goes on to show that the definition of genre as social action makes genre a tool for production and reproduction of social values and ideological assumptions in different cultures. Finally, the article mentions some of the consequences of rhetorical approach for literary studies.

---

In most of prose genres, in qajar era, there is a critical thinking which has caused the genres evolution. This Critical thinking is global, and we can recognize it in the first works in the beginning ages of Qajar era, after that, this approach more forcefully, has continued until Mashrooteh and it has fade gradually. Some of the prose genres and their changes, in this era, have been evaluated before, and some of them have been studied in this essay. The results are gathered, and compared. Critical approach has caused the evolution on the prose genres. Some of them have been abandoned; some of them have been changed significantly, so their relation with the previous cases has been cut. Some of them have been brought into being, and formed by this thinking, as independent ones, and after this era resume with rare changes. This fact proves that critical approach is the mainstream of prose genres evolution in the Qajar period.

---

Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody.

---

This paper examines the tradition of writing ‘adjā’ibnāmeh as the fantastic writing. The question is how we can/not regard ‘adjā’ib (marvels) as fantastic. First, we refer to the literature of both ‘adjā’ib and the fantastic. Then, the etymology as well as the religious and socio-historical origins of both words is examined. It is concluded that the fantastic has a root in fancy and mental hallucination while ‘adjā’ib has its roots in reality, originating from observer’s exact observation. Then, Todorovian structural approach to ‘adjā’ib is counterbalanced, showing that some tales of ‘Adjā’ib-e hend conform with the five kinds of the marvelous fantastic in Todorov's diagram. In sum, it can be claimed that ‘adjā’ib conforms only to certain aspects of fantastic writing.

---

The present study attempts to discuss some of the spiritual travelogue and classify them as a genre

---

Comparative and linguistic study of invitations in the cultural context of Iran and Iraq Involvements as linguistic genre are regarded as sociological data and are considered as an indicator of the relationship between social phenomena. By examining invitations of a particular time period, discourses derived from phenomena Social that period. This comparative study, which is based on the analysis of the genre and the critical analysis of discourse, attempts to explore the structure of wedding cards written in Arabic and Persian languages, and the role of social and cultural values. In its formulation. Familiarity with the social approaches of two different cultures, studying the impact of social and cultural factors on invitations, comparing the structure of invitations and explaining the impact of social phenomena on linguistic phenomena are among the most important goals of this research. Since this research examines the social approaches of the two countries and increases the level of recognition of different cultures, it seems necessary to do so. The results of the study show that the importance of the diversity of text and forms of wedding cards in Iran is more significant than in Iraq, with the title acquired in Iraq becoming more and more important, religious and patriarchal categories have a crucial role in the structure of wedding cards in There are two cultures, with the difference that the role of these two categories in the wedding cards of Arab countries is more colorful than Iran.

---

Amir Arsalan is one of the most important and popular Persian epics and one of the first works which manifests the signs of the transformation from story to novel in Persian prose. Although Amir Arsalan is regarded as a modern text and so many valuable studies are carried out on it, it still seems necessary to discuss the name of the story teller as well as the year this story emerged.Furthermore, many researchers believe that a few years earlier the emergence of Amir Arsalan, the first Persian novels were translated and published, and hence it is believed that these signs of transformation emerged under the influence of novel. The present study consists of two parts: the first part addresses the story teller and the time this story emerged and it is tried to shed light on the dark aspects of this attribution and date the emergence year of this work more precisely. After eliminating these ambiguities, the cultural space of the time Amir Arsalan emerged is addressed regarding the printing industry and it is attempted to introduce translated novels and plays along with travel memoirs which were written in Persian so as to investigate the likelihood of the familiarity of the story teller with these genres. Following this path, a more coherent and precise picture of the story teller and the cultural space of the emergence time of this story will be drawn.

---

 

 
Seyed Mehdi Zarqani, Ph.D.
 
Abstract
The categorization of literary genres is quite necessary and essential for a high variety of literary discussions and debates. For instance writing the history of literature in terms of the modern approaches and attitudes is not possible without defining the major genres first. This issue is also true in other domains of literature such as literary criticism and content analysis. The subject matter of this article is formed precisely within this point of concern; designing a model for the categorization of Persian literary genres in the classic era. All the literary works are generally divided into two scopes; poetry and prose. The domain of “Persian Poetry” can be categorized within three main genres; epical, lyrical and instructional-inspirational. Our definitions of these three mentioned literary genres do not necessarily correspond with the definitions of the Greek scholar The three genres of interest are redefined in the present article, while examples of their subdivisions in the Persian literature are defined. The Persian “branch of prose writings” includes literary works, non-literary works and pseudo-literary works. As a literary researcher, I am obviously concerned with the literary and pseudo-literary writings. Once each category is defined in this article, the literary writings are observed within two genres; “narrative-based” and “non-narrative” literary writings. The definition of each type, with examples; in addition to suggesting their subdivisions in the Classic era, all have made another part of this article. Since the contemporary prose and poetry possesses a particular poetical base, categorization of the variety of literary genres demands another opportunity, and our suggested design can merely be applied in the classic literary genres.
 
 

---

In this qualitative study, through studying the thought patterns of two master candidates of the International Relations discipline, the process of development in their disciplinary genre awareness has been investigated. In so doing, academic writing skills were taught to the two cases of the study in a period of 18 months. In this period, one of the researchers held regular training sessions. The theoretical framework used for this study was the interaction model of Hyland (2005) and the methodology in the phase one to three of the study was descriptive ethnography and in phase four it was analytical and quantitative. Several rounds of interviews, stimulated recall sessions, field notes, and document analysis were used to collect the data. Based on the definitions provided by IELTS organization, the two cases improved from the level of limited user (band score 4) to the level of good user (band score 7). Finally, the result of the investigation of the stages of development in the disciplinary genre awareness of the participants was presented in a model of development. This study can shed light on the future perspective of curriculum design for academic and ESP writing courses.

---

Structural analysis of classic narrative works preapare the way to investigate the components of a story within the language. Mehr and Mah has a complete plot and another capabilities in order to analyze. In lyrical system of so called collection poetic and emotional function of language is dominated on other roles. The relationship between language and narrative and decelerating species can be so interpreted. When the narrator of the story focuses on himself, the (+) emotive function of language is more salient , and when he or she  describes the actions, actors and other phenomena (+) the literary function of language shows itself, because in this extent generally more figures _due to an style of old story_ are used. Descriptions of natural phenomena, the appearance of characters and even the details of some lyric acts like hunting, night wedding, banquet and… reduce narrative acceleration. In this part, the poetic function is apparent. Mental complaints, whispering to himself, speaking with the language inspired by the elements of nature and … because of specific texture that mainly associated with vocative particles has a direct relationship with emotive function of lyric language. Emotional discourse is central to narration and decreases the mechanism of narrative actions. Another achievements of this research using emotional pattern of discourse is to show  the  hopes of event  the hope,  and confidence for Joined beloved.

---

Genology or genre theory is one of the oldest, most controversial and most problematic branches of literary theory. Approximately two thousand four hundred years in the life of this theory, many controversies surrounding the concept of genre has been and in these controversies, different problems and issues have been raised. Among the many topics of the theory, this article will talk about the issues that need attention in generic studies of Persian literature; such as the definition of the genre, genre and literary works, types of genres (the main forms), generic conventions and expectations, measure of regard to conventions, genre and intertextuality, genre and time, genre and cultures, genre and literary history, the vicious circle in the selection of genres, and definition and naming of genres. The article also criticizes the traditional approach to genre theory in Persian literature and notes the necessity of retrospective component approach to literary genres.

---

 One of the recent developments in the teaching of writing to second language learners is the genre-based approach which follows the more traditional product- and process-based approaches.   Experimental and quasi-experimental studies on the effects of genre-based instruction (GBI) on writing in English as a foreign language (EFL) have been frequently reported in the last few decades. Findings of these studies are inconclusive and inconsistent. Past research indicates that different populations of language learners may benefit differently from this type of instruction. The present meta-analytic study followed two purposes: a) to explore the average effect of GBI on EFL writing based on both experimental and quasi-experimental studies of the past 26 years and b) to investigate how the variables of writing task type, educational level, and first language possibly moderate the effect of GBI on EFL writing. Four research questions were addressed: a) what is the average effect size of studies on GBI in EFL writing? b) Do EFL writers at primary, secondary, and tertiary levels benefit differently from GBI? C) Does GBI affect different task differently?, and d) Do speakers of different mother tongues benefit differently from GBI? In this meta-analysis, a total number of 255 studies thoroughly searched and collected from various academic websites constituted the original population of studies intended for analysis. Based on careful exclusion and inclusion criteria, 26 (quasi)experimental studies providing 28 effect sizes were included as the final sample. The studies were coded for effect size data and moderator variable indices. The analyses were performed using CMA software. The results of the analyses showed that (1) GBI has a small average effect on EFL writing (Cohen’s d= 0.298); (2) GBI significantly more effective for primary level participants; (3) GBI produced different effects for different task types producing significantly higher effects for paragraph writing, (4) GBI was significantly more effective for learners whose first language was Japanese. The findings of this study can be considered as beneficial issue for both pedagogical and research purposes. The results imply that EFL writing instructors should consider possible moderating variables when choosing their method of writing instruction.

---

One of the most controversial issues in applied linguistics since the past two decades concerns the role of genre-based writing instruction and its applications in the area of second language (L2) teaching and learning (Correa & Echeverri, 2017; Derewianka, 2015; Lin, 2016; Tardy, 2005, 2006, 2009, 2011; Truscott, 2012; Thompson, 2014). Genre has been variously defined by different scholars in the field of second language acquisition. Swales (1990) introduced genre as a class of “communicative events” characterized by a sequence of segments with each move accomplishing some part of the overall communicative purpose of the text, in order to produce distinctive structural patterns.The main theoretical background of the study lies on Halliday’s (1994) Systemic Functional Linguistics (SFL), which offers the most theoretically sophisticated and pedagogically developed approach of the three, underpinned by a highly evolved and insightful theory of language and motivated by a commitment to language and literacy education (Hyland, 2004; Paltridge, 2001).  Paltridge (2002) concluded that writing genre-based tasks, help learners achieve some genre knowledge and develop their awareness to reflect on the acquisition of the genres they need. Although previous studies have contributed to different aspects of language pedagogy in L2 writing, much remains to be investigated regarding the impact of genre-based approach on EFL learners’ written production. Bearing the gap in the literature in mind, specifically, investigation of genre-based instruction could contribute to SLA literature theoretically and practically
This study aims at addressing the following research questions
RQ1: Are product, process, and genre-based approaches differentially effective in the improvement of accuracy in writing among intermediate EFL learners?
RQ2: Are product, process, and genre-based   approaches differentially effective in the improvement of fluency in writing among intermediate EFL learners?
RQ3: Are product, process, and genre-based   approaches differentially effective in the improvement of complexity in writing among intermediate EFL learners?
  One-way ANOVA was employed as the statistical means of analysis for comparing the means of accuracy of product, process, and genre groups in written task.
Discussion
   The main purpose of the present study was to investigate the effect of three modes of developments (product, process, and genre-based) on written task performance across linguistic domain of accuracy, fluency, and complexity in EFL context. The results of the study are in line with the findings of Swales (1986), Martin (2009), Martin & Rose (2008), Johns (2003), Hyland (2007), and Kuhi (2014) who supported the effectiveness and merits of genre-based approach on learners’ written performance. Similarly, in line with the findings of the study the results of the study conducted by Paltridge (2001) revealed that learners outperformed and produced coherent writing in the genres taught, relying on the model texts provided. Also, Yayli (2011) observed a group of EFL learners. He proposed that the students displayed awareness of generic features and applied such knowledge to the practice of genres. Similar findings were reported by Huang (2014), he found that the student developed knowledge of the research article genre through assimilating explicit genre instruction. Yayli (2011) and Huang (2014) both confirmed that genre-based pedagogy could effectively foster students’ genre awareness. In line with this arguments, Yasuda (2011) focused on a task-based syllabus design and investigated its effect in a genre-focused writing. Yasuda’s (2011) study demonstrated the effectiveness of a task-based instructional framework in genre learning. Also, Cheng (2008a) revealed that, a key finding was that the concept of genre functioned as an explicit and supportive learning tool in the student’s growing awareness.
   However, the findings ran against Freedman & Richardson (1997) that centered on the disjuncture between the claim that meaning is encapsulated in textual objects, genres as autonomous systems, and the avowal of a social constructionist functional model of language.  Also, Dovey (2010) conducted a design-based research and the results obtained revealed that students who learned with the process-based curriculum design had better performance in writing than their counterparts in genre group. According to Byram (2004) genre underestimates the skills required to produce content, and learners’ self-sufficiency. Similarly, Bawarshi (2000), and Badger & White (2000), adopted an approach as a synthesis of the three approaches which could lead to important development in the writing classroom. As Badger and White argue, effective communication involves knowledge about language, knowledge of the context in which the writing happens and especially the purpose for the writing (as in genre approaches), and skills in using language (as in process approaches) (2000, pp. 157-158).
 

---

 
Yeki Bud Yeki Nabud, a story collection written by Mohammad Ali Jamalzadeh (1892-1997), marks the beginning of modern short story in Iran. Along with the stories in this collection, also known as the very first attempts to write Persian short story, the foreword to this book is of prime importance in Persian literary studies and literary theory. One of the basic and yet significant concepts of this foreword is “literary democracy.” The analysis of the micro-concepts and metaphors developed in this foreword helps us analyze this particular macro-concept and hence better understand the foundation for the notion of “literary democracy.” It is also important to note to what extend this macro-concept have played a role in modern Persian literature.